By J. Nilsson
This examine examines how a selected collection of movies became American cultural fabric of the Nineteen Nineties into satirical reports for audience and reveals that there are components of resistance to norms and conventions in politics, to mainstream information channels and Hollywood, and to reliable American background already embedded within the tradition.
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Extra resources for American Film Satire in the 1990s: Hollywood Subversion
This type of general discussion also figures in the concluding chapter. In practice, this means making visible the connections between the films and the contexts while avoiding general speculation. This motivates the inclusion of secondary material. Press material (industry press, daily press, weekly press) and marketing material (production notes, taglines, interviews, DVD “extras”) are primarily used to position the films according to industry matters and aesthetic norms, but also in a cultural context.
We are first introduced to him as a folk singer, as he is shown singing for an audience in a theater setting, and although his lyrics are political, it is the fictional director, Terry Manchester (Brian Murray), who tells us that Bob Roberts is running for the Senate. We then follow the Roberts campaign as the documentary crew follows the campaign bus through Pennsylvania, stopping with Bob as he attends the opening of a medical clinic, sings to a group of children, gives an interview on a morning television show, attends a beauty pageant, debates his opponent (incumbent liberal senator Brickley Paiste [Gore Vidal]), sings with a church choir, and sings on a late-night comedy show.
Theorizing Satire Because satire comes in so many forms and because it is so varied, this study does not offer a unified theory that deals comprehensively with all its aspects. Instead, it could be said to offer what Noël Carroll would call a local theory of film satire. This means that “rather than theorizing about every element of film style in light of a set of limited theoretical presuppositions [ . . ”115 The problem with the poetics approach in terms of analyzing satire is the aspect of how films relate to society.